The Second Coming

Lord was one of the legions of metal bands from the eighties that put out one album and then disappeared forever. Sometimes it’s easy to see why these bands didn’t make it; a good percentage of them are uncreative, boring, and all-around untalented. Lord is one of those welcome exceptions, a band full of smart musicians who made mature music instead of bashing out a bunch of generic riffs and calling it a day. Indeed, this San Francisco outfit decided to eschew the thrash stylings of their contemporaries and focus on music that sounds more like early Judas Priest than Metallica or Exodus.

While so many bands during this period would wallop the listener over the skull right from the beginning, Lord chooses a more subtle track, “Promises,” to lead off this album. A ballady number, it showcases the band’s ability to write effective metal without resorting to sheer noise. Ditto for the next track, “Burnin’,” which is faster but still retains a subdued dignity that harkens back to the band’s influences. The entire first half of the album, in fact, while not the best music of all time, displays immense potential in this band. After listening to their cover of The Doors' “The End,” one might believe that they’ve heard the most realized version of this band’s potential ever put to vinyl… which is why the second side of the album is such a pleasant surprise.

“Snow” opens with a chilling keyboard section that couldn’t be attached to a song called anything other than “Snow.” It makes the listener feel like he’s sitting atop a frosty snow bank in the dead of winter. After this, however, an avalanche abounds out of nowhere, with a metallic riff that sends the song on a tear. “Back To The Asylum” is another multipart number that would have been nearly flawless had it not been for the annoying spoken part in the middle. “Leather Queen” finishes things off in fine style. As was the band’s wont, they defy the expectations generated from naming a song “Leather Queen,” providing a powerful, mid-paced number in lieu of a balls-out, speedy rocker.

The production on this album mars it, plain and simple. It sounds flat, with all the instruments equally low in the mix and not nearly enough pop in sections where there should be. A remaster would be highly welcome, but unfortunately unlikely for this uber-unknown band. Even with the poor production, though, the band clearly displays genius songwriting ability and quality musicianship. Had they gone on to be more successful, this is the type of band that may have put out an all-time classinc somewhere down the road. Alas, we’re left with nothing but this gem, a very good record that may have been an indication of greater things to come.